In Review Online

Tomatometer-approved publication
Rating Title/Year Author
Birds of Paradise (2021) Ayeen Forootan What ultimately makes [this] into a quite captivating para-cinematic experience is that it [connects] to an almost long-forgotten tradition of mildly erotic and juvenile cult films. EDIT
Posted Sep 24, 2021
The Alpinist (2021) Selina Lee [Leclerc] picking his way up frozen waterfalls... beautifully captures the meditative side of climbing that makes this sport (and in these moments, this film) so unique. EDIT
Posted Sep 23, 2021
Ali & Ava (2021) Daniel Gorman Beyond Barnard's deft touch with issues of class and race appear her underlying sensitivities at portraying the halting, tentative steps toward romance between two people of a certain age. EDIT
Posted Sep 20, 2021
One Second (2020) Sean Gilman There are stunning images in One Second that, individually, are more powerful than the film that contains them. [Zhang's] a filmmaker of moments and seconds. EDIT
Posted Sep 20, 2021
Sundown (2021) M.G. Mailloux But while Franco's disregard for convention provides some admitted thrills, Sundown doesn't manage any more than that. EDIT
Posted Sep 20, 2021
You Are Not My Mother (2021) Matt Lynch Even at a brisk 90 minutes, though, the story seems padded, and a lot of time is devoted to some serious shoe-leather ... [it's] more suited to a short film than a feature. EDIT
Posted Sep 20, 2021
Everybody's Talking About Jamie (2021) Steven Warner Thematically, the film feels like a relic from another era ... [and] seems to exist in a world where RuPaul's Drag Race isn't one of the most successful shows on the planet. EDIT
Posted Sep 20, 2021
The Eyes of Tammy Faye (2021) Morris Yang The Eyes of Tammy Faye indulges in the very spectacle it supposedly interrogates. EDIT
Posted Sep 20, 2021
Cry Macho (2021) Paul Attard [Cry Macho is] doomed to be laughed at by most of the general public, who will consider it saccharine and inert by most contemporary standards. EDIT
Posted Sep 17, 2021
Copshop (2021) Daniel Gorman Things don't wind up going exactly where you think they will, but rest assured, the apocalyptic finale leaves room for a further adventure. EDIT
Posted Sep 17, 2021
To Kill the Beast (2021) Daniel Gorman As a portrait of a small enclave of women banding together to reclaim their space and their pleasure from men, To Kill the Beast is a lovely piece of work. EDIT
Posted Sep 16, 2021
The Starling (2021) Steven Warner The problem is that everything here is too derivative and heavy-handed, its emotionally manipulative streak visible from space. EDIT
Posted Sep 16, 2021
Benediction (2021) Ayeen Forootan Davies' style here ... is delicately grounded between being both prosaic and poetic, where the subtle nuances and warm impressions of emotionality still get to manifest themselves. EDIT
Posted Sep 16, 2021
Memoria (2021) Ryan Swen This is unmistakably Apichatpong, not only in his total willingness to vary his approach as the shot and scene necessitates, but in the rich sense of character and circumstance. EDIT
Posted Sep 16, 2021
Cinderella (2021) Luke Gorham An entirely perfunctory affair with alternately bland renditions and seriously weird arrangements that leak fun from the chosen tracks at every opportunity. EDIT
Posted Sep 16, 2021
Huda's Salon (2021) Michael Scoular This [Hollywood] proximity has only encouraged a certain kind of carelessness in Abu-Assad's cinema, one where genre is merely a pretext to gesture at loose connections to reality. EDIT
Posted Sep 15, 2021
Encounter (2021) Daniel Gorman There's a good dramatic film buried in here somewhere, but writer/director Pearce doesn't seem to trust it. EDIT
Posted Sep 15, 2021
Compartment No. 6 (2021) Michael Scoular Juho Kuosmanen isn't interested in pulling apart the social conditions that separate the two; instead, he knows these are the ingredients for an opposites-attract romance. EDIT
Posted Sep 15, 2021
The Guilty (2021) Steven Warner If Fuqua's film is guilty of anything, it's in wasting the time of everyone involved with this rote, unimaginative drek. EDIT
Posted Sep 15, 2021
Blue Bayou (2021) Steven Warner Chon - and, by extension, Blue Bayou - is certainly heartfelt in intent, but the execution is about a hair's breath away from a Very Special Episode of Law & Order. EDIT
Posted Sep 14, 2021
Malignant (2021) Chris Mello Malignant is a blast that follows its gleefully dumb ideas to deliriously gory heights ... but it's cluttered with long, inconsistent stretches that lean on the off-kilter tone. EDIT
Posted Sep 14, 2021
Maria Chapdelaine (2021) Michael Scoular Pilote unfailingly illustrates the way in which, as in the visual metaphor he chooses to speak of Maria's heart, a new card disappears into an old deck. EDIT
Posted Sep 13, 2021
The Wheel (2021) Steven Warner The Wheel is a film that strives for realism when it comes to its central couple, yet it's that same authenticity that makes for such grueling company with these folks. EDIT
Posted Sep 13, 2021
DASHCAM (2021) Daniel Gorman If you can roll with the first half of DASHCAM, there are ample rewards awaiting the patient viewer. EDIT
Posted Sep 13, 2021
The Power of the Dog (2021) Michael Scoular The way this film is organized leaves it ample room to disappoint and defer, in order to make up in brief moments of iconographic pleasure. EDIT
Posted Sep 13, 2021
Titane (2021) Lawrence Garcia Ducournau reveals herself to be, in the end, content to trade only on cliché. EDIT
Posted Sep 13, 2021
Rhino (2021) Daniel Gorman There's nothing particularly novel about Oleg Sentsov's Rhino ... but in Sentsov's hands this well-trod material feels fresh and revitalized EDIT
Posted Sep 13, 2021
Madeleine Collins (2021) Ayeen Forootan The denouement of Madeleine Collins more or less condenses much of its complicated, embryonic ambitions into a middlebrow soap opera. EDIT
Posted Sep 13, 2021
Old Henry (2021) Steven Warner Not a single original moment is to be found in Old Henry, nor one of any inspiration. EDIT
Posted Sep 13, 2021
Reflection (2021) Daniel Gorman Vasyanovych meticulously constructs his own little universe in which to observe the horrors of war, forcing his audience to endure them as well. EDIT
Posted Sep 13, 2021
Il buco (2021) Ayeen Forootan Once again, Frammartino mainly adopts a radical aesthetic framework in studying the many different constituent parameters of image poetics and poetic imagery. EDIT
Posted Sep 13, 2021
Mona Lisa and the Blood Moon (2021) Daniel Gorman [The film] nonetheless resembles many current indie movies in its over-reliance on neon highlights and colored filters, and Amirpour's spastic, roving camera grows wearisome after a while. EDIT
Posted Sep 13, 2021
() Daniel Gorman Miranda Maria has talent ... but these pro-forma stylistic tropes smother the film in a glossy artificiality, where cryptic meanderings are confused for enlightenment. EDIT
Posted Sep 13, 2021
The Manson Brothers Midnight Zombie Massacre (2021) Steven Warner Wrestling fans who also love low-budget, tongue-in-cheek horror flicks and cornball jokes...will find themselves in pure bliss; everyone else should hit the showers. EDIT
Posted Sep 10, 2021
Kate (2021) Matt Lynch Kate is riddled with cliche and has next to nothing novel to offer narratively, but it's rescued by...some tasty, well-orchestrated violence, and a prickly lead performance. EDIT
Posted Sep 10, 2021
The Card Counter (2020) Matt Lynch The Card Counter is a sturdy work...but one gets the sense that Schrader might be making these movies over and over again as his own form of mildly onanistic self-punishment. EDIT
Posted Sep 10, 2021
Come and Go (2020) Christopher Bourne The title perfectly encapsulates the drifting, transient nature of the characters and their interactions, and Lim sensitively portrays their longing for more solidly stable existences EDIT
Posted Sep 8, 2021
The Great Yokai War: Guardians (2021) Chris Mello It's fun to see a Takashi Miike movie with "war" in the title proudly embrace nonviolence and the power of friendship, but it feels like superficial kids-movie stuff. EDIT
Posted Sep 8, 2021
Hiruko the Goblin (1991) Paul Attard None of it is very funny, nor even vaguely amusing - it's a lot of shouting and blood-spurting about, if that's your bag - and it brings the pace to a complete stand-still EDIT
Posted Sep 8, 2021
We Need to Do Something (2021) Daniel Gorman This is a solid genre exercise, and deserves a wider audience than if it were to simply float away into the gaping maw of some streaming library. EDIT
Posted Sep 2, 2021
Who You Think I Am (2019) Patrick Preziosi Much of what transpires ... plays as merely functional, more content to box Claire in as a jilted, unstable lover rather than liberate her across the Internet. EDIT
Posted Sep 2, 2021
Memory House (2020) Daniel Gorman [Memory House is] a repository of so many familiar tics and stylistic signposts that one would be forgiven for imagining they've already seen this film before. EDIT
Posted Sep 2, 2021
Superhost (2021) Daniel Gorman Superhost is a resolutely small film, and even at barely 90 minutes, it starts to run out of steam. EDIT
Posted Sep 1, 2021
() Sean Gilman This As We Like It is mere pop confection, all icing and no cake. What it ultimately offers is a stomach ache. EDIT
Posted Aug 30, 2021
Barbarian Invasion (2021) Matt Lynch As the movie-within-the-movie bleeds ever further into reality, we're treated to a simple, stylish fight picture with some decent displays of athleticism from its director. EDIT
Posted Aug 30, 2021
Vacation Friends (2021) Steven Warner The only thing that could make any of this possibly work is the film's talented cast, but even they are unable to overcome a script ... this tired. EDIT
Posted Aug 30, 2021
It's A Summer Film! (2021) Selina Lee It's a Summer Film!'s time-travel plotline may be a little muddled, but it doesn't bog down its characters' aw-shucks earnestness and cinema-loving charm. EDIT
Posted Aug 27, 2021
Wife of a Spy (2020) M.G. Mailloux Wife of a Spy achieves a tone uniquely Kurosawa's, something in between despair for our current moment and cautious optimism for where we might be able to go next. EDIT
Posted Aug 27, 2021
The Old Ways (2020) Daniel Gorman The Old Ways is one of those mid-budget gems, content to tell its story well, spook the audience, and move on. EDIT
Posted Aug 27, 2021
He's All That (2021) Steven Warner He's All That sets its bar low - very low - and yet still fails to deliver even on those modest ambitions. EDIT
Posted Aug 27, 2021